Maybe because it’s a collage, My Movie Project arrives to us from the United States covered with infamous reviews that adhere to its reputation for eternity. Qualified for “Citizen Kane of Nullity” by Richard Roeper of Chicago Sun Times (one will find here an anthology of infamous comments), My Movie Project was not shown to the press in France, which earned him the opportunity to inaugurate these catch-up sessions that LeMonde.fr will now offer. Listening only to their courage, the journalists of the cinema section will go to see in theaters the films that the distributors would like to see exempted from criticism.
To go back to My Movie Project, we do not quite understand why Metropolitan Filmexport, which offers this feature film, was seized with such modesty. Admittedly the film is often – and deliberately – repugnant, and its attempts to make people laugh are far from always successful, but these are traits it shares with many productions. It must be recognized in addition to some aspirations (to social criticism, to the absurd) which distinguish it from all coming from American comedies.
SKETCHES COMBINING TRANSGRESSION AND STARRING
Produced by Peter Farrelly, My Movie Project lines up sketches that combine transgression and stardom. This is how Hugh Jackman’s neck was augmented with a pair of testicles, which Kate Winslet discovers during their first dinner in town. Or that Richard Gere embodies the CEO of an electronics firm that has brought to market an MP3 player in the shape of a life-size female body, which is ventilated through the vagina, which leads to many accidents among young users. males.
Liaison between sketches is provided by Dennis Quaid, who plays a failed director who has long been on the other side of a nervous breakdown. He offers an average studio executive (Greg Kinnear) this series of stories that are generally more striking in terms of the amount of bodily secretions they present than in their humor.
Only one of these sketches manages to go beyond the bounds of infantile provocation to flirt with unease and yellow laughter. Naomi Watts and Liev Schreiber star as a suburban couple who educate their teenage son at home. So that he misses nothing of the joys of high school, his father persecutes and humiliates him, his mother seduces him and abandons him. Maybe because Naomi Watts starred in the American version of Funny Gamesone begins to imagine the serious and tragic feature film that Michael Haneke would have drawn from this situation, twenty years ago, before converting to humanism.
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